Millie Manders & The Shutup – ‘Wake Up Shut Up Work’

Millie Manders & The Shutup – ‘Wake Up Shut Up Work’

Millie Manders & The Shut Up have been around for a while in one guise or another and my first encounter of her was when she jumped on stage with The Barstool Preachers to sing a duet with Tom as a stand-in for Amiee Interupter and I admired the young ladies powerful performance and equally powerful vocal. Well as the months and years unfold Millie Manders & The Shut Up are on album number two and have truly found their niche and position that they are comfortable in. They deliver a life-affirming alternative mash-up of Ska, punk, rock and a pop sensibility that bands often miss when pressing their message by trying to be something their not but no sir Millie Manders do things on their own terms and do it very fucking well.

From the opening salvo of ‘Angry Side’ the horns toot and the feet can’t stand still. That momentum continues with ‘Shut Your Mouth’ as the weeks and fills tick away over a funky bass line whilst Millie does her thing with ao confidence through a strong melody. The song meanders and twists n contours to its conclusion and already I’m sold. This promises to be a real contender come the end of the year with strong song after strong song. ‘Me Too’ opens with a crisp riff before it bubbles under the vocals and lyrics before breaking out on the chorus. Stirring stuff. The band cuts lose those punk n ska chains on ‘Fun Sponge’ Millie Manders & The Shut Up on the surface are having it large but there is a serious side but they deliver it without coming across as sanctimonious or preachy, these are subjects they hold close to their identity and I guess so will the listener or anyone with a moral fibre running through their soul. Me Too” tackles sexism and body autonomy, while “Threadbare” tackles poverty. “Can I Get Off?” has a conversation on the dividing topics of the minute such as the war in Palestine and the rise of the far-right, MM&TSU confront these difficult subjects and I admire them for that.

‘R.I.P.’ is an excellent vocal from Millie. The other thing I take from this album is that it is not all smash, crash and burn or fist-pounding there are as many quieter moments where the band’s musicianship comes into play such as ‘Halloween’ The run-in is as strong as the opening introduction and a triumph it is closing with the punchy ‘Pressure’.

Pressure?, What pressure Millie Manders & The Shutup have delivered a proper album that ebbs and flows and is bursting with tunes of substance and humility. Buy It – you won’t regret it.

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Author: Dom Daley

The Alarm – ‘Alternative Declaration’ (The 21st Century Recording Company)

The Alarm – ‘Alternative Declaration’ (The 21st Century Recording Company)

How many copies or versions of one album does a man really need? Well the sensible amongst us would obviously say one. But since when is man sensible? I think this must be about the tenth copy of this album I now own. It’s fair to say I rate it, always have and always will. It’s raw and vital and for most of my life, it’s sung to me and still does. To be fair the alternative version I can do without, the live version of a few years ago I could also do without but the original and the rereleased double album along with the ‘Eponymous 81-83’ release I’d absolutely recommend. this one I have in my hands is also (no spoiler) a fuckin belter. ’68 Guns without the trumpet is raw and vibrant and a stone-cold classic. worthy of the ‘Alternative’ tag. The solo blows my mind and hearing versions of songs you’ve heard a bazillion times with different chord changes and drum parts as well as alternative lyrics is a mindfuck. It’s not necessarily the hits that were ever my favourites (Oh apart from where were you hiding) but the songs like ‘We Are The Light’ which is excellent here. I’m so used to the original production that hearing these versions is quite emotional and takes me back to a time when music was my everything and truly life changing. As I’ve gotten older and grown up with people like Mike Peters and gone somewhat on the journey with him and his music I don’t always get where he’s going but isn’t that the beauty of music its different things to different people and this was my time with the band and what I’d consider to be The Alarm.

Another of the album’s deep cuts that I always loved live has to be ‘Shout ToThe Devil’ and this version is immense from Sharpys contribution to Twist’s rhythmic beats I’m pleased I took the plunge and parted with my £50 to get hold of this and to be fair for a double album, Poster and double CD that’s a decent price for hardcore fans. I’m not sure the super deluxe version was worth the extra money but I was secretly desperate to hear these versions and the track list as it’s laid out over the two records.

The pound shop U2 and Clash tags always bugged the shit out of me sure I could see the comparisons or inspirations but ‘Declaration’ was something else and for a debut album right up there with the best of em. A blistering live rendition of ‘Tell Me’ seems out of place on ‘Alternative Declaration’ but the version of ‘The Stand’ is top tier and closing off LP one is a fresh sounding and youthful ‘Howling Wind’ without the sterile studio sheen of the original released version.

Sides three and four are more akin to that Eponymous album that came out (which is readily available on Amazon for a very reasonable price) If I’m being geeky and uber fan nerdy the ‘For Freedom’, ‘What Kind Of Hell?’,’ Up For Murder’ and ‘Unbreak The Promise’ are The Alarm in a nutshell, at their very best.

There’s a lot of music to get through (Twenty-Four tracks to be exact) with side four feeling like it has a few extras just in case you wanted to moan about VFM with a 2024 remix of ‘WWYHWTSB’ ’68 Guns having a 2023 remix complete with Trumpet and harmonica. A stonkin wander through The Whos ‘Legal MAtter’ which they always did very well to be fair. A hootin’ rootin’ tootin’ ‘Bound For Glory’. ‘Bells Of Rhymney’ always loved giving a cheers for Swansea even when it got boos in Cardiff (cheeky Sods). The album finishes with the 2013 part two piece of ’68 Guns’. Exhausted and happy an album I’ll take for a spin more than I probably should to be fair and one I’m glad I gave a chance to now for a run through the Abbey Road CDs that came with it and yet more versions of songs recorded in Dallas. what a band they were four lads who shook the world for sure.

For those not lucky enough to pick up a copy I noticed It’s got a barcode on the jacket so I presume soon enough the record will be readily available, most probably to coincide with the Autobiography that Peters has written. I’d like everyone to get a chance to hear this version of one of my favourite albums ever. When you’re young indeed, but when you’re old(er) you have all the memories and hopefully once more for the four lads from Rhyl to put a full stop on it for all those who didn’t go to Brixton or The Scala.

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Author: Dom Daley

Gene Loves Jezebel – Pizza Express Live 06.08.24- Holborn, London

Gene Loves Jezebel – Pizza Express Live 06.08.24- Holborn, London

Well I’ve been to thousands of live shows in some strange off-the-beaten paths and some most untraditional venues as well but tonight I find myself in Old London Town at the basement of Pizza Express for a full band Gene Loves Jezebel acoustic show. I like pizza I’m happy to sit at the table (I think) and take in an evening like no other.

Waiter two beers please and a pizza with pineapple (only joking about the pineapple obviously I’m not an animal) as we find our table and order some food and drinks in a very laid-back environment we await to band of Jay Aston, James Stevenson, Chris Bell and Peter Rizzo to take to the stage for what promises to be a very interesting and intimate experience. As the band take the stage it still feels a bit weird watching a rock n roll band in a jazz club/restaurant but hey I guess we’re all of a certain age these days and it’ll be rattle your jewellery rather than pogo and press against the stage these days.

A beaming Jay introduces the band to what might be a wonderful triumph or a brilliant catastrophe who knows either way we’ll all have been fed before bed looking around I don’t think it being a School night really matters to this audience never the less Chris counts in the band as we get underway for the first half. Promising some songs from the deep vaults and never before played to reimagined classics so I make myself comfortable sit back relax and float downstream let the music begin.

After a false start due to the (cough cough) over-rehearsed and always ready Jay forgets or needing the lyrics for ‘Lone Rider’ and goes to play ‘Love Keeps Dragging Me Down’ before deciding to hell with it its live and going back to the set list to open with ‘Lone Rider’ before the awesome ‘Love Keeps Dragging’ it was a wonderful pin drop moment as ‘How Do You say Goodbye’. As the evening settles in we are treated to a cover of ‘Inbetween Days’ that has James showcasing his wonderful touch and a fantastic interpretation of an already great song.

Jay is in a playful mood shuffling through half a dozen lyric sheets about fifty times seemingly unable to find the song he wants anyway it is familiar fan favourites of ‘Kick’ and ‘Georgious’ that go down really well. The first set is edging to a close but before halftime oranges and rub down its ‘Dancing Underwater’ off the album of the same name but not before James took lead vocals on the emotional ‘The Other Side Of The World’ which was one of those live show moments. the emotion of the lyrics and what it clearly meant to James was laid bare for all to see and the fragilities of the melody and delivery was genuinely a cwtch moment and one that wasn’t lost on everyone in attendance. Spectacular heartfelt stuff.

The second half gets underway with a rousing ‘Jealous’. ‘Who Wants To Go To Heaven’ and that tune ‘The Motion Of Love’ has them dancing at their tables as ‘Liquor Man’ continues to keep people smiling and the night has magic in the air along with Jays quips and tomfoolery ‘Every Door’ is played before ‘Break The Chains’ and Jay introduces the band before they prepare to leave the stage after a wonderful evening of song in the most unexpected of places but if the music is good enough it can happen anywhere any time any place and tonight Pizza Express could only have been topped had Prince Andrew walked round the tables handing out the bills. ‘Desire’ is the final curtain call and we’re done. It’s back to West Wales but not until we wander through the quieter streets of Soho and have a cheeky pint in the Ship Inn for old time’s sake. Until next time Gene Loves Jezebel delivered a Michelin star performance with a gentler acoustic hand. Full electric next time please gents.

Author: Dom Daley

The Dwarves – ‘Keep It Reel’ (Greedy Records)

The Dwarves – ‘Keep It Reel’ (Greedy Records)

Like London buses you wait for ages for one then a pair arrive one after the other – the same can be said of Dwarves records. Still, after Blags Ralph Champagne’s departure, we were treated to the epic ‘Concept’ album. Then there was supposed to be an accompanying EP that turned into ‘Keep It Reel’ a ten-track beast of epic proportions that’s packed to the gills with snarling Dwarves goodies from the opening ‘One Musketeer’ to the thrashing brutality of ‘Voodoo’ sure some of these bad boys were on the CD version of ‘concept’ but you need The Dwarves on Vinyl right which is why I’ve had to wait until now to receive my copy.

Oh, I forgot to mention it comes in a limited-edition magical mystery sleeve from the band’s website. Featuring the supreme Blag The Ripper and The Fresh Prince Of Darkness Rex Is having it large on this one as is Black Josh Freese, Snupac, Sgt Saltpeter and Andy Now.

The Dwarves even have time to get all bluesy on your ass on ‘I Had A Dream’ after they offer some ‘Voodoo’ remix and the intensity is raging. ‘Kinda Konsensual’ turns that up a notch or two before ‘Nobody Fucked You’ sees The Fresh Prince Of Darkness chug like a motherfucker with his delightful tone that only he and Steve Jones know the dials to.

Dwarves records are short and oh so sharp and by the time ‘Blast Off’ has shaken side two into life the Blag stonker that is the feel-good hit of the summer, ‘Parasite’ is a handclap and rinsed les Paul away from being the perfect Dwarves tune. ‘Invisible People’ is creepy crawling into your brain with its scooby-doo noise effects and if it wasn’t for those meddling kids this would be another multi-platinum album from California’s finest. Before we say adios and you rush off to pick up your copy the band offer up the barnstorming ‘All For You (Remix)’, Teach your children to worship Satan with its mini At War With Satan false ending The Dwarves do it again and conjure up all sorts of dastardly nonsense on their album and I fall to my knees and worship Blag and the boys for delivering us another masterpiece. Don’t be a dummy get it whilst it’s hot and remember keep it real motherfuckers.

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Author: Dom Daley

Sister Morphine offer a limited 7″ of pure Rock n Roll pleasure

Sister Morphine offer a limited 7″ of pure Rock n Roll pleasure

Reanimated South Wales lowslung rock ‘n’ rollers SISTER MORPHINE follow up last year’s fifteen-track debut album, ‘Ghosts of Heartbreak City’, with an all-new double B-side single, ‘Werewolves of Suburbia’/’I’m Up For Letting You Down’, released on streaming platforms and limited edition white vinyl seven-inch via Big Egg Records on September 6th, 2024.

Written in 2024 and recorded over the Summer at RedRock Studios with Lyndon Price once again at the controls, these two new songs up the ante of the band’s signature sound: punk ‘n’ roll with killer hooks. ‘Werewolves of Suburbia’ is a dark, metaphorical calling-out of pathetic men who still treat women as pieces of meat, while ‘I’m Up For Letting You Down’, which has one creeper in the Seventies and the other in a Scandinavian rehearsal space, is an ode to those people who stick by you when you’re at your worst. Sure to be live favourites, both songs will make their debuts on a Sister Morphine setlist when the band play at the HRH Sleaze VII festival at Leicester’s O2 Academy on Sunday, September 8th.

The single will be available as a limited edition white vinyl seven-inch – one of the first releases from the Big Egg Vinyl Club – with cover artwork exclusive to this physical format. This will be Sister Morphine’s first-ever vinyl release.

Catch Sister Morphine live at: HRH Sleaze VII – Leicester O2 Academy – September 8th

The Pit – Newport – October 11th (with Deathtraps & Arizona Law)

Big Egg Records

Swami And The Bed Of Nails- ‘All Of This Awaits You’ (Rise)

Swami And The Bed Of Nails- ‘All Of This Awaits You’ (Rise)

Two years after the classic ‘Ride The Wild Night’, John Reis is back with nine, spanking new tunes. The man we used to call Speedo in the mighty RFTC changes his moniker with every release, but the quality of the songs never drops. His pedigree is beyond question, and lead single ‘Ketchup, Mustard And Relish’ is an instant ear worm which would be right at home next to ‘When In Rome’.

Album opener ‘How Are You Peeling?’ owes more to early RFTC, with its off-kilter rhythm, and it has that magic that draws you in. ‘Harbor Freight’ is a straight ahead rocker that you will want to play on repeat, while ‘Teen Hate’ is like the very best Ramones songs, with a bittersweet edge and a Fab Four ending. ‘Privacy’ rattles along before ‘Lost In Bermondsey’ claims its place as one of John’s best tunes.

‘Shock And Awe’ is a groover that Jim Jones would surely approve of, that begs to be played live. Righteous stuff, indeed. ‘Don’t Wait’ is a lesson in how to craft a canny pop song, complete with “woah, woah” refrain, and ‘Beware The Halo’ brings the album to an end in style, if all too soon.

Short and sweet, with no filler. The only downside being that, with no CD available, it’s an expensive purchase from the USA, what with postage fees being increasingly hefty now. That said, this is a fitting follow up to ‘Ride The Wild Night’ that you can listen to online now before deciding whether to increase your vinyl collection.

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Author: Martin Chamarette

SWAMI & THE BED OF NAILS LINKS
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Love Fiend – ‘Handle With Care’ (In The Red Records)

Love Fiend – ‘Handle With Care’ (In The Red Records)

Another band that are new to me, Love Fiend’s previous singles compilation is good, but this new, studio album takes things up a couple of notches. Hailing from California, ‘Just For Eddie’ reminds me of the late, great Roy Loney, which is a fine way to start. ‘Hard Feelings’, with keyboards upfront, is reminiscent of both Devo and The Cars, which is the overall sound across ten songs, but with much more as well.

‘Secret Cabals’ is the kind of song that Gary Numan used to excel at, addictive, pumping synths. You’ll be breaking out your Numanoid moves in no time. ‘Jimmy (Is An Agent)’ is equally catchy, more upbeat, while ‘Got Bad’ breaks out the sax and a riff that gives a nod to Slade. Which is a great idea, as it goes. Every song here works, they’ve obviously spent some time honing their sound, and it’s paying off. It sounds fresh, yet classic, like a lost album from your big brother’s record collection.

It has pretty much every great hook from the best American pop rock of the late 70s/early 80s, all the above plus Cheap Trick and The Knack. You can hear all this in ‘Neu Testament’, and yet they pull off synth pop with ‘One Forever’ that would please Soft Cell. It shouldn’t work, but it does.

‘C.K.I.L’ throws in a Ramones riff, and ‘Tied Up’ is just the right side of ripping off ‘Footloose’. These all sound like singles, which is a rarity these days. ‘Vacant Love’ evokes the melodies of The Paul Collins Beat. If, like me, you’re a fan of these influences, head straight over to Bandcamp and treat yourself to, potentially, one of the best albums of the year.

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Author: Martin Chamarette

Dangereens – ‘Chic'(Alien Snatch! Records)

Dangereens – ‘Chic'(Alien Snatch! Records)

The band Dangereens came to my attention back in 2021 with their mighty fine debut long player ‘Tough Luck’. “Hanoi Rocks meets The Georgia Satellites jamming in a smoky bar with The Rolling Stones” is how I described the debut long player from this Montreal based 5 piece. And I’m happy to report that with the surprise release of their sophomore album ‘Chic’, not much has changed in the Dangereens camp.

With the cool swagger of the Stones, the trashiness of The Dolls and the countrified twang of Tom Petty, Hugo Chartrand and his band return with a 13-track sophomore album that warms to the soul from the first digital drop of the needle. 

It all kicks off with ‘Fly By Nighter’, a 70’s glam rock stomp of an opener, with sleazy Faster Pussycat style low slung riffs, sneering vocalisin’ courtesy of main man Hugo Chartrand, and there’s even some cowbell thrown in for good measure.

The country twang of ‘Death On Two Wheels’ is a welcome addition and builds nicely, Tom Petty meets The Stones for the win. Three tracks in and ‘Kingdom Of White Lies’ shows singer and main songwriter Hugo’s knack for a catchy tune. A 50’s rock n’ roll feel to this with boogie-woogie piano stabs.

I mean, I’m pretty much sold already, The Dangereens didn’t have much to prove in my eyes (or ears) and they are holding up to the word ‘sophomore’ so far. The band take a deep breath and take things down with ‘Walk On Water, a laid-back tune that evokes ‘Black and Blue’ era Stones, as twin guitars fight for low down licks over a lazy but tight-ass rhythm section. In a similar vein, ‘Any Day Now’ sounds like it coulda come from the Ju Ju Hounds album sessions, did they give Izzy or Rick Richard’s a call for this one, I wonder?

The band records in analogue with minimal takes and there’s a lot to be said for that approach to recording a rock n’ roll record. ‘Chic’ just sounds like a classic 70’s record before you’ve even hit side 2. 

Talking of side 2, we’ll let the music do the talking, but a special mention goes out to the fantastic ‘Chlorine’ in all its boogie-woogie, glam glory and what a killer bass line! They don’t make ’em like anymore. That my friends is a strong tune with an overly catchy chorus. 

Elsewhere, with handclaps, twin guitars and a definite glam stomp, ‘Friday Night’ outdoes Tuk Smith in the T Rex meets Thin Lizzy meets Bryan Adams groover stakes. The title ‘Hallelujah’ suggests a rousing chorus to sing from the rooftops and Hugo and the boys deliver in spades.

13 tracks in 40 minutes leaves enough space on one side of a C90 to squeeze on a couple of tracks from their debut EP for good measure if anyone still does that sorta thing. 

Good times don’t go out of style and Dangereens have plenty to go around. I’ll give you one piece of advice, if you have even a smattering of interest in this band, head over to Alien Snatch Records Bandcamp page and order this bad boy on old school vinyl before it sells out, tell them RPM sent ya and we demand a UK Tour quick sharpish. ‘Chic’ could be my favourite album of the year and is certainly essential listening.

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Author: Ben Hughes

IOMMI TO RELEASE SOLO RECORDINGS ON VINYL FOR THE FIRST TIME

IOMMI TO RELEASE SOLO RECORDINGS ON VINYL FOR THE FIRST TIME

TONY IOMMI TO RELEASE SOLO RECORDINGS WITH GLENN HUGHES ON VINYL FOR THE FIRST TIME

‘THE 1996 DEP SESSIONS’ AND THE 2005 ‘FUSED’ ALBUM TO BE RELEASED ON LIMITED COLOURED VINYL, DIGISLEEVE CD AND DIGITAL ON OCTOBER 4TH VIA BMG.

LISTEN TO THE NEW DOUBLE A SIDE SINGLE ‘GONE’ / ‘SAVIOUR OF THE REAL’

 AND PRE-ORDER HERE https://tonyiommi.lnk.to/depfusedPR

Photo JOHN McMURTRIE

The relationship between iconic Black Sabbath guitarist Tony Iommi and English musician Glenn Hughes stretches far back into the mid-eighties. Best known for playing bass and performing vocals in the hard rock band Trapeze and in the Mk. III and IV line-ups of Deep Purple, Hughes sang on the 1986 Black Sabbath album ‘Seventh Star’. It was the twelth album from the fabled heavy metal originators and was initially intended to be the first solo release from Iommi, but record company and management pressures led to the album being billed as ‘Black Sabbath featuring Tony Iommi’. Despite these demands, the album was a commerical success and reached the Top 30 of the English charts. Glenn’s powerful, soulful voice complimented Iommi’s unique guitar style perfectly and even though the eighties was a turbulant time for Black Sabbath, it was clear that Iommi and Hughes would work together again in the future.

That time came in 1996 when Iommi once again collaborated with Hughes for a release that would become known as ‘The 1996 Dep Sessions’, recorded at DEP International Studios in Digbeth, Birmingham. The recordings were demos and were left unfinished due to the original line up of Black Sabbath reforming at the time. However, a bootleg recording known as ‘Eighth Star’ was circulated among fans so in 2004, to combat this, the session was eventually offically released.

After Black Sabbath’s 1995 album Forbidden, the band would go on hiatus. So when Tony and Glenn reunited in 1996 to record together, it was with a renewed creative vigour and ambition to take a step away from the signature Sabbath sound and forge a new direction. The results were a formidable, contemporary take on a classic rock sound with Glenn’s soaring vocals combined effortlessly with Iommi’s monolithic riffs. These eight songs sound as vital as the day they were recorded and are now being pressed on vinyl for the first time in limited Translucent Black Ice colour.

The official release of ‘1996 The Dep Sessions’ in 2004 proved to be a catalyst for Tony and Glenn, who rekindled their collaboration and within a year, released what would be Iommi’s third solo album in 2005. Titled ‘Fused’, the album was recorded at Monnow Valley Studios in Wales and saw Iommi sounding heavier than ever. The album is chock full of stomping, grinding riffs that saw Iommi tipping his hat to the metal genre he had helped spawn decades before. ‘Fused’ sounded completely modern for what was happening in heavy music at the time and still stands the test of time today. Once again, Glenn’s vocals glided effortlessly over Iommi’s earth-shattering six string attack. Produced, engineered and mixed by American record producer Bob Marlette (whose credits include everyone from Rob Zombie and Alice Cooper to Sheryl Crow), the album was a success and reached number 34 on Billboard’s Top Heatseekers Chart. ‘Fused’ is now reissued for the first time on Translucent Cobalt Blue vinyl and includes three bonus tracks.

In addition to being an active session musician, Hughes also maintains a notable solo career. He currently fronts the supergroup Black Country Communion, and fronted California Breed from 2013 to 2015 and The Dead Daisies from 2019 to 2023. In 2016, Hughes was inducted into the Rock and Roll Hall of Fame as a member of Deep Purple. Tony Iommi’s legendary status is assured and he continues to record new music to this day, always pushing the bounderies and staying ahead of the pack. It’s only right that these fantastic recordings from his solo years are being cut to wax for the first time for new and old fans to enjoy as well as new digisleeve CD and digital editions.

Pre-order ‘The 1996 Dep Sessions’ and ‘Fused’ HERE: https://tonyiommi.lnk.to/depfusedPR

Rich Ragany – Sierra Bonita video

Rich Ragany – Sierra Bonita video

SIERRA BONITA Video Directed/ Produced/ Shot/ Edited By Craig Temple (Racketeer Pictures) From the Rich Ragany album “You Can Get Dark With Me” on Barrel And Squidger Records.

Order link: musicglue.com/squidger

The video is a love letter to London past and present… Rags adds, “Craig Temple is so creative and talented.… taking a simple idea and making it so widescreen. A real journey. About the song… My friend from LA… her Dad disappeared on her early… But she tried for a reconnection. It didn’t work… but we spoke about how brave it was to try and steal back some moments in their lives “I don’t mind… you know I stole that for ya…” has that feeling of “you understand that you stole from me… I’ll try and steal ya something nice give to you … for you… anyways.” To try.

More universally, the song is about stealing one last moment of empathy and understanding in a lost situation. What it can do for the hearts involved. Moving on doesn’t necessarily mean giving up.

About the album and artist… The last few years has seen the Calgary, Canada born, New York City seasoned, and now UK based songsmith, Rich Ragany, build up quite a reputation with his various bands of rock n’roll trailblazers, The Role Models, The Loyalties and most recently, Rich Ragany & The Digressions. Rich’s songs have won over the hearts of many, most recently with the critically-acclaimed albums “Beyond Nostalgia & Heartache” and “What We Do (To Not Let Go)” gaining considerable airplay on BBC Introducing.

Rich over the years has shared stages with the likes of Ramones, Bad Brains, SNFU, Rammstein, Oasis, The Lemonheads, Warrior Soul, The Men They Couldn’t Hang, Whitfield Crane, Ginger Wildheart, The Professionals, Steve Conte (New York Dolls), Michael Monroe… as well as each band packing out venues in their own right. All this experience and resulting attention has brought him to signing a deal with Barrel And Squidger Records (who have released music by CJ Wildheart, Massive Wagons, members of Status Quo and Sex Pistols).

With a brand new album titled “You Can Get Dark With Me” Rich describes the new album: After the big dramatic production of The Digressions’ albums I wanted to create something more personal… a world of its own. So I decided to deconstruct to reconstruct. Every song is a mix of home recording, from the first day of writing each song, and proper studio stuff, to keep a real personal “straight from the moment of inspiration” feel… but have a sonically and emotionally expanded spirit as well. Guitars recorded on the fly in my bathroom as I wrote, in real-time. Mostly acoustic, later taken and manipulated to sound “electric” (inspired by the Stones’ similar sonic experiments on Street Fighting Man). Backing vocals done on the spot… some of these literally recorded on a phone mic in my bathroom. I then took all this to my trusted friend and talented producer, Andy Brook and added big studio-grade bass and drums via the talented duo of Simon Maxwell and Ricky McGuire… and experimented some more. Then JUNO and Canadian Country Music Award-winning producer (and another old friend and brother) Russell Broom got involved in a few tracks, most notably SIERRA BONITA Travelling back to my early home of Calgary and recording with him really brought things full circle. So… songs that started out so simple and solitary had travelled quite far. In its own world… reaching out now.